Top HitsThe Light Between Oceans (romance, Michael Fassbender. Rotten Tomatoes: 60%. Metacritic: 60. A New York Times Critic’s Pick. From Stephen Holden’s Times review: “The movie, directed by Derek Cianfrance [‘Blue Valentine,’ ‘The Place Beyond the Pines’], envelops the image of a lonely, brooding sentinel gazing out over the water in the seething atmosphere of a Winslow Homer seascape. And Alexandre Desplat’s lush score washes over it like an endless tide. The film’s solemn visual rhythms exert an almost hypnotic spell that for a time gives a heroic dimension to a story as emotionally fraught as a vintage Bette Davis melodrama.” Read more…)

The Vessel (faith-based drama, Martin Sheen. Rotten Tomatoes: 65%. Metacritic: 67. From Andy Webster’s New York Times review: “Julio Quintana’s ‘The Vessel’ is a modest, but not maudlin, parable of hope about mustering the strength to vigorously plunge again into life’s uncertainties after a devastating loss.” Read more…)

The Inferno (action thriller, Tom Hanks. Rotten Tomatoes: 19%. Metacritic: 42. From Manohla Dargis’ New York Times review: “Late in ‘Inferno,’ Tom Hanks blurts out, ‘My God, this is a labyrinth.’ Well, of course it is, because Mr. Hanks is running [and running] through another muddled Dan Brown maze. Once again, this one comes to you from the director Ron Howard and his producing partner, Brian Grazer, who bring clenched-jaw commitment and a whole mess of filmmaking to every project, even the most disposable. In this case, the story may not make any sense, but they’re going to throw so much at you — so many jumpy moves, so many tangled threads — that you might not notice [or care].” Read more…)

The Monster (drama/horror, Zoe Kazan. Rotten Tomatoes: 78%. Metacritic: 76. From Manohla Dargis’ New York Times review: “Monstrous motherhood has never gone out of fashion, including in movies — recent examples include ‘The Babadook’ and ‘Goodnight Mommy’ — that are more obvious fodder for art houses than for multiplexes. ‘The Monster’ is cleverly pitched somewhere in between, with the kind of generous splatters that evoke the good old nasty days of grindhouse horror and enough sleek, self-conscious moves for festival play dates. Part of the ticklish enjoyment in ‘The Monster’ is how the director, Bryan Bertino [‘The Strangers’], plays with genre registers and how, after opening with disquieting stillness and an isolated child, he slowly yet surely turns up the shrieks.” Read more…)

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